By Peter Szendy,Samuel Weber,Will Bishop
Apocalypse-cinema is, while and with an identical double blow, the tip of the realm and the tip of the movie. it's the consummation and the (self-)consumption of cinema, within the type of an acinema that Lyotard evoked because the nihilistic horizon of filmic economic system. The innumerable countdowns, striking radiations, freeze-overs, and seismic cracks and crevices are yet different names and pretexts for staging movie itself, with its financial system of time and its rewinds, its overexposed photographs and fades to white, its freeze-frames and electronic touch-ups.
The apocalyptic style is not only one style between others: It performs with the very stipulations of probability of cinema. And it bears witness to the truth that, whenever, in every movie, what Jean-Luc Nancy known as the cine-world is uncovered at the verge of disappearing.
In a Postface especially written for the English variation, Szendy extends his argument right into a debate with speculative materialism. Apocalypse-cinema, he argues, declares itself as cinders that query the “ultratestimonial” constitution of the filmic gaze. The cine-eye, he argues, eludes the correlationism and anthropomorphic constitution that speculative materialists have put lower than critique, permitting in simple terms the ashes it bears to be heard.
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Extra info for Apocalypse-Cinema: 2012 and Other Ends of the World
Apocalypse-Cinema: 2012 and Other Ends of the World by Peter Szendy,Samuel Weber,Will Bishop